After her mother commits suicide, nineteen year old Lucy Harmon travels to Italy to have her picture painted. However, she has other reasons for wanting to go. She wants to renew her ... See full summary »
Sixteen-year old Junie changes high school mid-year, following the death of her mother. She finds herself in the same class as her cousin Mathias, who introduces her to his friends. All the... See full summary »
1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won't throw a Molotov cocktail... See full summary »
Anna has just left Paul who, annihilated by the separation, moves back with his father in Paris. His younger brother Jonathan, a casual student, still lives in his father's apartment and ... See full summary »
Paris, spring 1968. While most students take the lead in the May 'revolution', a French poet's twin son Theo and daughter Isabelle enjoy the good life in his grand Paris home. As film buffs they meet and 'adopt' modest, conservatively educated Californian student Matthew. With their parents away for a month, they drag him into an orgy of indulgence of all senses, losing all of his and the last of their innocence. A sexual threesome shakes their rapport, yet only the outside reality will break it up. Written by
The scene where Isabelle's hair catches fire happened unplanned. Eva Green was supposed to lean forward and kiss Matthew goodnight but accidentally caught her hair on fire on the candle on the table. She didn't let it worry her and acted so natural that Bernardo Bertolucci decided to leave it in as he felt it perfectly anticipated the theme that things are about to get a bit crazy. See more »
When Matthew returns to the room to discover Theo in bed with Isabelle, Isabelle's expression and hair keeps changing position during shots. See more »
The first time I saw a movie at the cinématèque française I thought, "Only the French... only the French would house a cinema inside a palace."
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A Carbonneutral production through Future Forests. Indigenous trees have been planted to balance the carbon dioxide created through the production of this film. See more »
The Innocents is Bertolucci's nostalgic reverie of the Past, Present, and Future.
Bertolucci dreamily reminisces of youths who long to experience new sensations of freedom unknown to them.
Underlying his dream, The Innocents depicts youths imitating art imitating youths, a powerful, universal cycle which revolves without end, propelling the revolutions that fuel humanity forward.
Although Bertolucci stages the film in 1968 Paris, he allows the essence of the film to meander wistfully from the revolutionary past as we gleefully remember it, to the present life as we dolefully (and regrettably) live it, and forward to the unknown future that brims with exciting possibilities of new revolutions.
His gives us three innocent youths desiring to plow forward into a hypnotic New World that titillates their senses and intellect.
However, the inexperienced innocents become overwhelmed by the raging life encompassing them; they lock themselves away, creating a dream world which enables them to safely explore New World ideals without affecting their innocence.
Their self-exilement turns revolutionary as they act upon exactly what they feel; abandoning Old World traditions, they allow their innocence to transform itself into experience, and they leave their dream-world behind.
Bertolucci reflects upon these sensory moments by injecting into the film snatches of real breakthrough European films, music, and sexual explicitness that inspired European youths to break away from Old World traditions. These films and songs captured moments of pure sensory freedom unimcumbered by afterward consequences.
As youths do in reality, the three innocents on screen embrace these "controversial" films and songs, and delight in their awakening sexuality. They desire to "experience" the exuberance exhibited in the films and music, without a care for the real impact of their actions.
These films and songs capture sensory moments without definitive endings, and the three innocents capture sensory-sexual moments without being tangled up in the consequences.
The Innocents becomes a piece of revolutionary nostalgia for all viewers: viewers who delightfully consume the novelty of the cinematic experience and viewers who condemn the film; the ultimate consequence occurs: the film is pushed into the cycle of youths imitating art imitating youths...
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